mixed live & work / work only

SCHNEEEULE

schneeeule silke nowak

about: 

Schneeeule is a project space based in Berlin and run by Matti Bergmann and Silke Nowak. Founded in 2012, Schneeeule is a space for exhibitions, screenings and lectures with varying locations.

The venue for the first couple events was a salesroom in the Berlin Carré, located at Alexanderplatz in Berlin-Mitte. Ever since various venues were used for the following events – such as a garden, a bar or a cultural center.

In order to meet a large scope of different approaches towards exhibition making, Schneeeule is dedicated to collaboration, and thus invites different artists as well as curators.

Another objective of Schneeeule is to present concealed positions, especially female artists, by making them visible and give them space for a public debate. Showing Verena Pfisterer’s work for instance, led to an increased attention of her artistic position within the contemporary art context. Further exhibitions and screenings featured paintings, drawings and films by Verena Schirz-Jahn, Coleen Fitzgibbon and Annabel Nicolson.

how is/was it run/structured ?: 

what is/was it's legal status ?: 

  • co-operative

how is/was it funded ?: 

address: 

Prinzenallee 80
13357 Berlin 52° 33' 16.038" N, 13° 22' 46.9308" E
DE

total size in sqm/sqft: 

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established: 

2012

last known status of the project: 

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Ebor Studio and Gallery

about: 

Ebor Studio is an independent artist-run studio facility incorporating:

- Professional artist studios
- Sculpture resources
- An informal educational programme

Ebor is located at the Pennine edge at the North West fringe of the Manchester conurbation.

The studio is a four storey building with well equipped workshop facilities and spacious accommodation. It offers project opportunities and teaching resources catering for all levels of experience – regular classes and specialist short courses. The studio offers opportunity for artists requiring professional and technical support.

how is/was it run/structured ?: 

what is/was it's legal status ?: 

  • community interest company

how is/was it funded ?: 

history of the site: 

The studio was originally built as ‘Ebor Mill’ around the 1870’s - it became a small Victorian industrial premises and now has a rich industrial history.

address: 

Ebor Studio
William Street
OL15 8JP Littleborough , LAN 53° 38' 29.796" N, 2° 6' 17.4888" W
GB

usage: 

previous usage of the site: 

number of studios: 

number of workshops: 

number of exhibition/project spaces: 

types of studios: 

  • open plan, private

types of workshops: 

established: 

2005

last known status of the project: 

last known status of the site: 

Islington Mill

about: 

Islington Mill is a leading independent UK arts organisation based in Salford, in the NW England. Structured around an organic network of independent artists, Islington Mill runs innovative inter-disciplinary public arts programmes and artist residencies alongside studio spaces and an artists’ B&B. Drawing on the radical and subversive creative energy running through its arts activities, Islington Mill also has a reputation for putting on legendary experimental gatherings, events and parties.

Based in the evocative buildings and courtyard of a former Victorian mill, Islington Mill is a unique and inspiring environment where the architecture of industrial Britain is fused with the creative energy of industrious artists at work and at play.

Founded by Bill Campbell in 2000, who bought it after spending four years developing the project and raising the initial finance, Islington Mill is the product of a singular dream to form a network of artists around the shared goal of living and working as freely and creatively as possible.

Like the Hacienda before it, Islington Mill is organised along similar principles inspired by the Situationist movement, an avant-garde European art movement formed in the fifties and sixties that became a prototype of punk. Picking up where the former left off, Islington Mill has a similar focus of creating an open-source environment outside of conventional structures and art traditions that can act as a catalyst for “the creative act” in all its many forms and unlock the inner artist in almost anyone.

Currently run by designer Bill Campbell, musician Mark Carlin and visual artist Maurice Carlin, Islington Mill is a non-hierarchical organisation that makes no distinction between work and play, outcome and process, chaos and control. Operating outside a commercial, profit-led agenda, it is a genuinely independent arts organisation that puts nurturing, supporting and inspiring creativity, especially new and emerging talent, at the heart of everything it does.

Forged in the spirit of D-I-Y, it recognises risk-taking and experimentalism in a non-judgmental, non-pressured environment as integral to art practice and is able to offer artists an unusual level of creative freedom in an increasingly market-led cultural landscape.

Although Islington Mill is predominantly focussed around the physical space in Salford, it recently organised its first “mass residency” with thirty artists in Ibiza and now plans to take the spirit of Islington Mill on tour elsewhere, building on existing links starting this October with an exchange with Flux Factory NYC.

Not content with stopping at these achievements, Islington Mill is continuously seeking to progress in its mission to inspire, educate and develop artists in their careers in an ever-changing social and cultural landscape.

Islington Mill was very pleased to have recieved its first ever ACE programme funding in the history of its organisation earlier in 2013, which will be used towards testing new strategies for residencies and developing its marketing and organisational structure.

As part of this forward-looking strategy, Islington Mill is excited about the opportunity to develop it's 6th floor space into further B&B style bedrooms and its 5th floor space into a dedicated artist residency space.

However further funding is still needed for Islington Mill to realise its full potential and so it is constantly exploring funding sources and income streams that will allow it to maintain its unique vision for the arts into the future.

To this end, Islington Mill has also secured Arts Council Catalyst funding, in consortium with the Chinese Arts Centre, this fund helps arts organisations access private funding by exploring how relationships can be formed with patrons and other independent sources.

Islington Mill is now to an exciting future that is global and ambitious. With the right funding in place, it hopes to be responsible for sending local artists out onto international residencies, while receiving incoming international artists in order to realise its full potential as a dynamic international arts hub and creative interchange.

how is/was it run/structured ?: 

what is/was it's legal status ?: 

  • other

how is/was it funded ?: 

address: 

James Street
M3 5HW Salford 53° 28' 54.9156" N, 2° 15' 47.412" W
GB

usage: 

previous usage of the site: 

established: 

2000

last known status of the project: 

last known status of the site: 

Salon Neu

about: 

made the north sea a radical project space
by installing a group show in it (collaboration with Embassy Gallery)
commemorative mousemats now change hands on ebay for £200

how is/was it run/structured ?: 

what is/was it's legal status ?: 

  • other

how is/was it funded ?: 

exhibitions, events, workshops: 

Salon Neu

address: 

The North Sea
57° 9' 14.832" N, 2° 22' 22.9764" E
GB

total size in sqm/sqft: 

usage: 

previous usage of the site: 

number of studios: 

number of workshops: 

number of exhibition/project spaces: 

types of studios: 

  • open plan, private

types of workshops: 

established: 

2011

last known status of the project: 

last known status of the site: 

Butler's Wharf

Fire at Butler's Wharf, 1979 (photo: Fran Cottell)

about: 

Butler's Wharf was a former riverside warehouse dating from the late 19th century, within the complex of streets and buildings immediately south and east of Tower Bridge.

In the early 1970's many of the buildings in that area had been cheaply purchased by property speculators with a view to re-development. In London at that time, many housing associations and cooperatives were being formed to negotiate cheap rents for derelict properties in the interim period before demolition or redevelopment took place. Many artists lived
and worked under these kinds of arrangements, and it was a group of friends who had met while at art college in the Isle of Man and Brighton who together rented a floor of Block 2B, Butlers Wharf in late 1975, later joined by recent art graduates from Newcastle, Leeds and Maidstone.

From 1975-78, the artists' space at 2B Butler's Wharf was a key venue for early UK video art and performance art, used among others by Derek Jarman and the artists and dancers who subsequently founded Chisenhale Studios and Chisenhale Dance Space, including Philip Jeck.

how is/was it run/structured ?: 

what is/was it's legal status ?: 

  • other

how is/was it funded ?: 

history of the site: 

Butler's Wharf was built between 1871-73 as a shipping wharf and warehouse complex, to store tea, spices and other imported goods unloaded from ships using the port of London. It contained one of the largest tea warehouse in the world. In 1971, following the relocation of the docks further east and the rise of containerisation, Butler's Wharf and other warehouses in the area fell into disuse.

From 1984, Butler's Wharf has been redeveloped by Conran Roche into luxury flats, with restaurants and shops on the ground floor.
Butler's Wharf is Grade II listed.

exhibitions, events, workshops: 

Exhibitions and events at 2B Butler's Wharf:
The first person to put on a publicized live performance at 2B was Kevin Atherton in November 1975.
In May 1976, regular Saturday evening shows began with presentations by members of the original group, quickly extended to shows by close associates and then opened to all artists wishing to use the space for presentations of their time-based work. In eighty shows over two and a half years, thirty involved film projection, a dozen used video, a further dozen were sound pieces; several used light as a primary element, some were pure performance art, while many used combinations of different media.
By May 1978 when the building was closed down by the developers, there had been over 80 shows by more than 60 artists.
online available at: http://www.studycollection.co.uk/2B/events.html
(accessed September 2013)

bibliography: 

Critical Writing in Art & Design (2013), After Butler's Wharf: Essays on a Working Building, London: Royal College of Art (ISBN: 978-1-907342-71-4)

address: 

Shad Thames
SE1 London 51° 30' 13.23" N, 0° 4' 24.7476" W
GB

total size in sqm/sqft: 

usage: 

previous usage of the site: 

number of studios: 

types of studios: 

  • private

established: 

1971

vacated: 

1980

last known status of the project: 

last known status of the site: 

The Woodmill

Thom O`Nions at Woodmill, Neckinger - from: Heilgemeir, M. (2013), The Nomadic Studio, Stuttgart: Edition Taube (photo: Michael Heilgemeir)

about: 

The Woodmill was initiated by a group of artists and Southwark Council’s Regeneration department, with support from ACAVA, and occupied a series of ex–council buildings, including a 40,000 sqft office block, an industrial hangar space built in 1901, as well as a set of residential flats inhabited by 20 of the 100 studio artists, from 2009 – 2011.

Over the course of 18 months the Woodmill hosted 14 main public exhibitions, 33 events and some 40 project exhibitions created by studio artists. More than 150 artists from 15 countries were invited to realise projects that were seen by over 6,000 visitors.

In October 2012 The Woodmill relocated to nearby Drummond Road, Bermondsey SE16 and re-opened as 'The Woodmill GP'

how is/was it run/structured ?: 

what is/was it's legal status ?: 

  • unincorporated organisation

how is/was it funded ?: 

history of the site: 

"... Previously the site of a large tannery, the (Neckinger) Depot’s infamous ‘sharp stink’ of Bermondsey’s other prolific industry was replaced in the early 20th Century with civic buildings and storage. By 2009, the Woodmill; a 40,000 sq ft tin can with inadequate utility systems and outdated interior design had become economically and environmentally inefficient to its owners. Although generally in sound condition, the Woodmill neither reflected the newly engineered Tooley Street offices of Southwark Council’s aspiration, nor did it belong to the identity of the Borough’s future. In worse condition, the rest of the Depot’s surrounding hangar buildings built in 1901 and previously used as a wheel wrights and bus depot, stood rotting slowly; graveyards for obsolete computer equipment, rusty office fans and mouldy lever arch files..."

from: Naomi Pearce (2010) "A Fast Event, A Slow Event", printed in Art Licks Issue 2

exhibitions, events, workshops: 

'The Woodmill S.A.G.S.', 09.04.2011 – 01.05.2011
'The Present Archive', 18.03.2011 – 27.03.2011
'Perverted Minimalism Nr. 3', 18.03.2011 – 27.03.2011
'Elephants at the Woodmill (Nicolas Party)', 11.02.2011 – 27.02.2011
'Bad History (Neil Clements)', 14.01.2011 – 13.02.2011
'Coherence & Proximity (Mark Fell)', 03.12.2010 – 19.12.2010
'Pale Blue Dot', 03.12.2010 – 19.12.2010
'Bergan Biennale II: The Next Generation', 19.11.2010 – 21.11.2010
'Man in the Dark', 08.10.2010 – 07.11.2010
'Buzz or Howl', 10.09.2010 – 26.09.2010
'Reading a Wave', 23.06.2010 – 25.07.2010
'Lucky Dip', 23.06.2010 – 18.07.2010
'Elena Bajo', 21.04.2010 – 23.05.2010
'The Devil's Necktie', 12.02.2010 – 07.03.2010

for further information see: www.woodmill.org/exhibitions

bibliography: 

Heilgemeir, M. (2013), The Nomadic Studio - Art, Life and the Colonisation of Meanwhile Space, Stuttgart: Edition Taube (ISBN: 978-3-9814518-2-5)

address: 

The Woodmill - Neckinger Depot
Neckinger
SE16 3QN London 51° 29' 47.076" N, 0° 4' 29.8812" W
GB

total size in sqm/sqft: 

usage: 

previous usage of the site: 

number of studios: 

number of workshops: 

number of exhibition/project spaces: 

types of studios: 

  • private

types of workshops: 

established: 

2009

vacated: 

2011

last known status of the project: 

last known status of the site: 

direct follow-up/precursory project(s): 

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